Undeterred by the unlikelihood of a successful outcome, Ray Cabarga approaches each aleatoric exploration with confidence and enthusiasm. Nine out of ten times his efforts are fruitless, but that tenth time makes it all worthwhile. When he finally does achieve an accidental masterpiece, he carefully prepares the “oozing,” as he calls it, for the second phase of the process. After buying a new set of ultra-fine permanent markers he waits for the spirit to move him, at which time he will start from one end and work his way across the painting over the course of three to four weeks. Aided by his Zen meditation training he works in a trance-like state, intentionally clearing his mind of conscious preconception, letting the painting guide his hand. After each session he will assess the work only to decide whether it’s finished or not. The final result is an "inked oozing". Later, he’ll varnish and sign the work often with little or no recollection of having drawn most of what appears there. In this way Cabarga surpasses his own creative abilities and employs the assistance of chance and the higher intelligence of the universe.
I have been creating art all my life, from finger-painting to computer illustration, from sand castles to oils and acrylics. Having been taught from an early age that creativity is paramount, that's how I've lived my life. As I got older, and my ability to manifest my imagination into reality became second nature, I started looking for something beyond my own imagination, a new approach to creativity, one that was not limited to my own imagination and the many sources of inspiration that influenced me.
The first, most obvious place I looked to was chaos. This began my journeys into aleatoric art. Aleatoric art allows the element of chance to play a major role, exploiting the concept of randomness to reach artistic areas at which mere creativity might never arrive. I began experimenting with mediums and paints that were incompatible. I toyed with the concept of colloidal suspension. Oil and water don't mix so they instead move each other much the way an artists brush moves paint. I discovered a combination of paints, mediums and other elements that simulated the effects of colloidal suspension. The movements were beautiful because they were governed, not by an artists conscious intentions, but by the laws of nature such as gravity, temperature, pressure and resistance, viscosity and thixotropy